Seven terrazzo columns run diagonally across a narrow room, each one standing slightly taller than the one that came before. Behind them stands a large piece of a perforated concrete wall (the kind used in Mediterranean buildings to shade exposed stairwells and balconies), its pattern of circles-in-squares hinged on a metal structure and cut like the head of an arrow, pointing inward. Together, the columns and walldiscarded objects of demolition, altered by the artistform a single installation, Then We Realized, Time Is Stone, 2016, which makes up roughly half of Saba Innab’s most accomplished solo exhibition to date, “Al Rahhalah” (The Traveler). The rest of the show features seven smaller sculpturessix of them arranged in a line like architectural maquettes on a long white tableand a group of ink, pencil, and mixed-media drawings. The sculptures are made